创造社诗歌研究

【作者】 黄雪敏；

【导师】 王光明；

【作者基本信息】 首都师范大学 ， 文艺学， 2007， 博士

【摘要】 创造社的诗歌创作,从总体上看,体现为“诗歌革命”到“革命诗歌”的变化,在历史的合力中渐渐地从丰富多元演变成单调一元的诗歌形态。在创造社诗歌“多变”、“善变”的发展过程中,“革命”作为一种激进的姿态和创新的动力,成为创造社诗歌变化的内驱力。从推崇诗歌对个人情感和个性张扬的表现,到确立诗歌作为革命宣传的工具,诗歌的社会功能逐渐压倒美学价值;在意识形态的逐步规范下,“革命”由精神上的个人解放和艺术上的美学创新,转变为对社会革命内容的自觉认同和对个人空间的否定。诗歌的话语空间被压缩,在诗的“言说方式”(包括语言和形式)上自觉地放弃了“革命”。创造社诗歌“革命”内涵的缩减过程,典型地体现了诗人在现代处境中的“社会承担”和诗歌的“美学要求”之间的矛盾;反映出中国新诗在面对新世界和新语言时的双重焦虑。本论文通过对“自我”的考察,围绕“纯诗”和“革命文艺”讨论中出现的问题,探讨创造社诗歌转向的内在原因。“自我”是新诗的一个重要话题。郭沫若《女神》中前所未有的“自我”形象,为新诗的言说确立了话语据点。它一方面指向对旧制度、旧世界、旧我的否定,一方面又建立起一种全新的抒情原则,拓宽了“自我”的领域和新诗的话语空间。通过诗歌美学的革命,体现了“自我解放”和“艺术创新”的强大动力,达到个人解放与社会革命的统一。由于具备了强大的能量,作为精神主体的“自我”更多的承载了现实的意识形态,传达新的价值观念和时代精神,而忽略了对个体心灵的内省、对其内在激情和欲望的疏导。由于缺乏根本的美学认同和哲学建构,创造社诗歌中的“自我”就显得无根、浮泛,在吸收外来文化资源进行美学建构的过程中,无法从自身的本土经验和语言根性出发反思西方的语言形式和诗歌表现策略,无法在传统资源中寻找到创新的依据,因而出现了理论与创作的脱节,甚至走向了形式主义的极端。这使得穆木天、王独清、冯乃超等人的象征主义实践,在推进新诗的美学现代性探索的同时,也留下了诸多遗憾。与此同时,在感时忧国主流文学的牵引下,围绕“革命文艺”展开的讨论凸现了个人解放与社会革命的冲突,并最终导致了创作队伍的分流、分化:一者表现为疏离,坚持诗歌对自我情感的表达,在审美意向和情感趣味上的选择仍然保留着较大的独立性;一者表现为承诺,自觉以社会革命为诗歌的表现内容,通过对前期美学追求的摒弃、对社会承担的强调来实现转向。此后的“普罗诗歌”创作,由于过分追求诗歌对发展变化的新现实的贴近和反映,追求用诗歌来鼓动情绪、促进革命的发展,诗歌从一种想象的、思维的语言变成了行动的语言,造成作品艺术上的粗糙和“口号标语化”的毛病。总的来说,创造社的诗歌创作典型地反映了新诗在追求“现代性”过程中陷入的“迷思”。这不仅仅是新诗自身美学范畴的难题,它更呈现了新诗在社会、历史、文化语境中的诸多压力。创造社的诗歌“革命”在不同层面的发展和变化不能做抽象的理论探讨,而必须内化于对这种压力和焦虑的关注中,落实到具体语境的梳理当中。因此,对创造社诗歌的考察,既应关注诗人的具体诗作,也应注意到社团在人事关系、办刊传统上各种力量的增减变化对于作家文学诉求的影响。更多还原

【Abstract】 Generally speaking, the poetry creation of Chuang Zao She incarnated a transformation that is from the poetry revolution to the revolutionary poetry, which was accomplished with the time history form multidimensional and heterogeneous aspects to monotone and unitary. In the course, "the revolution" as one kind of radical posture and the innovating power, became the inner driving power of the change of Chuang Zao She. With the transformation from being canonized for a representation of individual emotion and the individuality, to established as a tool of revolutionary propaganda, the poetry displayed sociality more than esthetics. Being impacted by ideology, "the revolution" changed from the individual liberation spiritually and the artistic aesthetical innovation, to the aware approval of social revolution content and the denial of individual space.The poetry’s roomage was reduced, "the revolution" in the way of speaking, including language and form, was given up naturally.The deflation process of the revolution connotation in the Chuang Zao She’s poetry, typically manifested the Chinese writer’s dilemma of the society undertaking and the aesthetical request in modern society, and reflected new poetry’ dual angst when facing the new world and language. In the thesis, to see about "oneself and probe into the issues on "pure poetry" and "revolutionary literature" are all to point out the internal cause of the veer in the Chuang Zao She’s poetry."oneself is an important topic in the New Poetry, and the unprecedentedly image of "oneself in the representative "Goddess" of Guo Mo-ruo intensified it. On the one hand it aimed to the denial of the ancient regime, old world and "old myself, on the other hand it established one kind of brand-new principle to express feelings, broadenning oneself domain and poetry space. The revolution of poetry aesthetics had formidable power through the self-liberation and the artistic innovation, achieving the unification individual liberation and the social revolution. As the main body of psychic, "oneself was loaded practical ideology, communicating new idea and time spirit, while neglecting to introspect individual soul and dredge the indwelling appetency and ardour.Due to the absence of aesthetic self-identity and philosophical construction, "oneself in the Chuang Zao She’s poetry seemed to be duckweed. It once tried to assimilated foreign culture to dream up its esthetics, while couldnot ponder over its form and technique, linking indigenous language to locate any innovation in the traditional resource. So the theory and inditement were out of line,or even tended to the extremeness of formalism. This made Mu Mutian, Wang Duqing, Feng Naichao and their symbolism practice promoted to grope for the modernity of New Poetry on esthetics, and left some pities likewise.At the same time, leading by the mainstream of sorrow country, the conflict between the individual liberation and the social revolution protruded in the discussion on the "revolutionary literature", and finally caused the creation troop’s divergence. Some poets chose acceptance and took the social revolution as the poetry contents by rejecting aesthetical pursue, insisting the society undertaking and implementing the veer. The others were alienated, and insisted that poetry was to express self-emotion by keeping the independence of their tastes and gusto. Later the "Proletarian Poetry" excessively went in for reflecting realistic progress, and stiring mood up to speed the revolution. Poetry the imaginary language became effective, and then made the work of art coarse and banner-manner.Taking one with another, the poetry creation of Chuang Zao She typically showed that the New Poetry lost its way to modernization. This is a problem for the New Poetry on its esthetics, but also presented the pressure received from society, history and culture. To the "poetry revolution" of Chuang Zao She nonobjective and theoretic discussion is nothing. We should survey its inner, and take into the conditon of the day into account. Accordingly, to review the Chuang Zao She’s poetry is not only to look through the poem, but also pay attention to the influence on literary pursuit that was brought by the changes from interpersonal relation and tradition of the consortium.更多还原